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Jazz is enigmatic on so many fronts. Many listeners don't understand it and don't want to. I'm told that jazz sales take part in only three percent of the recording market. That's a tough reality to swallow!
Having said that, there is a myriad of obstacles against the jazz musician or one who aspires to playing jazz. And, within this myriad, you may be confronted with quite a cross-section of viewpoints containing opinions, criticisms, vituperation, and criterion.
Music schools are great and experience is key, but what about your emotional IQ? What about your attitude, personality, perseverance, confidence, rapport, and overall rapprochement?
What about your swing? Do you rush, drag, lag, swim with the time? What is your motive? Is it to play music and try to be creative (or respect the tradition...combination of the two) or is it to show off chops?
The older musicians and a good deal of the younger ones are well prepared. They know many standard tunes as well as the "original tune" jazz repertoire. Many experienced musicians will insist that you are making a grave error if you are merely practicing scales, arpeggios, and lines and remaining lax in the area of memorizing tunes. This is an easy trap to fall into and it will limit your chances of working and surviving playing jazz.
The "Fusion" scene in the late '60s and throughout the '70s may have thrown many guitarists a little off course. Certain guitarists who had the good fortune of "making it" were able to influence an entirely new generation of guitarists who were more "chops" oriented than before. The way I see it, Fusion has lost it's marketing appeal. Many of the Fusion guitarists were forced to re-vamp; literally! It is obvious that such a task is not so easy and, why should it be?
Does anyone think it's fair that players of one bag, who had been quite successful in that bag, should automatically assume their rightful place in the Straight-ahead Jazz world?
What about the dudes who had been really paying heavy dues all along and scuffling all along, the likes of Jimmy Raney, Tal Farlow, Jim Hall, Chuck Wayne, Joe Pass, Joe Puma, Pat Martino, and the many you've never heard of?
I am very happy that Pat Metheny is introducing Jim Hall to a wider audience. I take my hat off to him. It reminds me of the '60s with the British Invasion and the Hippie scene in The States. Guys like Mike Bloomfield made the younger generation hip to veteran Blues masters such as: BB King, Albert King, Buddy Guy, and Muddy Waters.
It may be a good idea to realize just what it takes to become a master and it may be a good idea to pay homage to the remarkable men who laid it all out for us via their own blood, sweat, and tears. I will leave you with the immortal words of the late great Frank Zappa. "Shut up and play your guitar."
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Contact: coasings@yahoo.com
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